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Touring NZ 15 - 22 March 2017 STAY IN THE LOOP Sign up to our monthly email newsletter to receive the latest news, concert reminders, and inside stories plus be in to win with giveaways and special offers.

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PRELUDE SERIES Do you want more out of your concert experience? Come along to our free CMNZ Prelude Series.

Enjoy artist Q&A sessions, pre-concert talks, panel discussions and Open Stage performances.

For more information: 0800 CONCERT (266 2378) chambermusic.co.nz/prelude Programme

Ciaccona Wondrous machine! Maurizio Cazzati (From: Hail! Bright Cecilia Z. 328, 1692) Instrumental Vincenzo Cappezuto Music for a while Two upon a Ground (From: Orpheus Britannicus, Vol. II, Z. 583 no. 2, 1702) (Chaccone from: ‘Diolclesian’) Céline Scheen Instrumental ‘Twas within a furlong of Edinborough Town Here the Deities approve (From: The Mock Mariage, Z. 605/2, published in the Third (From: Wellcome to all pleasures, 1683) book of ‘Deliciæ Musicæ’, London by Henry Playford, 1696) Vincenzo Capezzuto Vincenzo Capezzuto Canario La Dia Spagnola Improvisation Nicola Matteis Instrumental Instrumental Man is for woman made A Prince of glorious race descended (From: A Song in the Mock-Mariage, Sung by Miss Cross.) (From: Orpheus Britannicus, 1702) Vincenzo Cappezuto Céline Scheen Curtain Tune on a Ground One charming night (From: Timon of Athens, Z.632) (From: Secresy’s Song, from The Fairy Queen, an operatic Instrumental adaptation of Shakespeare’s Midsummer Night’s Dream, Z. 629 no. 13 published in Orpheus Britannicus, Vol. II, 1692) O, let me forever weep (The plaint) Vincenzo Capezzuto (From: The Fairy Queen, an operatic adaptation of Shakespeare’s Midsummer Night’s Dream published in Ah ! Belinda Orpheus Britannicus, Vol. II, 1692, Z. 629 no. 40, 1702) (From: Dido and Aeneas, Z. 626, no. 37, published in Céline Scheen Orpheus Britannicus, 1702) Céline Scheen Hark ! how the songsters of the grove (From: published in Orpheus Britannicus, Vol. II, 1692, Z. An EVENING HYMN on a ground 629 no. 40, 1702) (From: Harmonia Sacra, &c. The First BOOK, Z. 193) Céline Scheen, Vincenzo Capezzuto Vincenzo Capezzuto

Strike the viol Duration 85 minutes without intermission – Programme (From: Orpheus Britannicus Book I, 1706) changes reserved Céline Scheen When I am laid (Dido’s Lament) (From: Dido and Aeneas, Z. 626, no. 37, published in Orpheus Britannicus, 1702) Céline Scheen

Wed 15 March / Auckland Town Hall Fri 17 March / MTG Century Theatre, Hawke’s Bay

Sat 18 March / Michael Fowler Centre, Wellington Auckland concert presented in association with Mon 20 March / Charles Luney Auditorium, Christchurch Wednesday 22 March / Glenroy Auditorium, Dunedin

The Auckland concert is being recorded for broadcast by RNZ Concert Kia ora tātou Inigo Jones (who designed the Whitehall Banqueting House and St Paul’s Church in Covent Garden) imported the first theorbo to England from Italy. He was interrogated by customs officials who suspected that the unfamiliar object in the case might be some strange weapon. (Plus ça change! Violinists worry these days every time they have to board a plane with their instruments as hand luggage.)

I’ve adored the theorbo and its near-cousin the archlute ever since I first came across these beautiful instruments in the 70s. It wasn’t its appearance – the extended neck supporting long resonant strings – but the sheer beauty of sound that appealed to me. What a treat it is to have Christina Pluhar and her brilliant colleagues with us to let us hear the rich sound of Baroque plucked strings. But there’s more. I am so looking forward to hearing really fine cornetto playing, wonderfully stylistic singing . . . and more.

L’Arpeggiata’s Music for a While programme is about far more than exotic early instruments. For this programme this wonderful ensemble includes some outstanding jazz musicians to produce an enchanting and sometimes elusive stylistic blend. I’m sure that you will love this concert.

So, welcome to CMNZ’s 2017 “Music Up Close” Kaleidoscopes season. I give you a personal promise that every concert in the series will be of the highest quality and yet very different from every other concert. What we’ve tried to offer you is an intriguing and highly enjoyable ready-made selection of great music covering a broad stylistic range. This is a subscription package that is varied and distinctive.

Enjoy tonight – and I look forward to seeing you back at other Chamber Music New Zealand concerts in 2017.

Peter Walls Chief Executive Chamber Music New Zealand

Please respect the music, the musicians, and your fellow audience members, by switching off all cellphones, pagers and watches. Taking photographs, or sound or video recordings during the concert is strictly prohibited unless with the prior approval of Chamber Music New Zealand. Music for a while Improvisations on Henry Purcell

Not For Puritans Henry Purcell and the musical theatre of the Restoration

The British are renowned for their understatement, but perpetual singing’, the journalist Peter Anthony Motteux the prefaces to the scores of Henry Purcell’s music for opined in the Gentleman’s Journal in 1692; plays that the stage display what is, even by British standards, an consisted solely of singing were simply ‘unnatural’. Yet extreme form of rhetorical self-deprecation. In the 1690 there was a good deal of singing on English stages, and it preface to The History of Dioclesian, ‘Orpheus Britannicus’ was much appreciated. Purcell’s catalogue of works alone portrayed the cultural level of his compatriots in these contains some two hundred songs drawn from incidental words: ‘Thus being farther from the sun, we are of later music for the theatre; to this we must add fifty-seven growth than our neighbour countries, and must be ‘catches’ for convivial singing, twenty-four odes for festive content to shake off our barbarity by degrees.’ And in the occasions, and more than one hundred other songs. preamble to The Fairy Queen we read: ‘I despair of ever To understand the idiosyncratic path followed by the having as good voices among us, as they have in Italy.’ So performing arts in England in Purcell’s day, we must take is the old prejudice ‘Anglia non cantat’ (England doesn’t a look at the historical context. His lifetime (1659–95) sing) correct? Or should Purcell’s coy complaints rather coincides almost exactly with the period known as the be seen as an expression of national waywardness? For Restoration. When Purcell was born, the rule of the in the seventeenth century, while opera was setting Puritans was drawing to a close. Public performances out on its triumphal march all over Europe, the insular of spoken theatre were banned under the republican Eurosceptics chose a path of their own: the idea of a zealots, but not musical plays. As a result, many wholly sung theatrical performance – which constitutes resourceful men of the theatre fitted out their plays with the very essence of opera – was completely unthinkable as many musical numbers as were required for them to in the land of Shakespeare and Marlowe. ‘Experience pass as musical drama. This was a stopgap solution, but hath taught us that our English genius will not relish that it prepared the ground for a specifically English form of Christina Pluhar, Theorbo & Musical Direction

musical theatre. After the end of the Puritan era in 1660 In the former their tastes ran to the saucy and frivolous. the pent-up demand for entertainment must have been At Charles express command, the female roles were now enormous, and the new King, Charles II, set his subjects played by women and not by boys in drag; Nell Gwyn, the an example of how to enjoy life. Charles had developed a star of the Drury Lane Theatre, became the most famous taste for French ways during his exile. Following the model of his many mistresses. Among other later highlights of of his Parisian counterpart, he procured himself a crack this art form were the so-called ‘ass epilogues’, speeches string orchestra of twenty-four players for his court music delivered direct to the audience (and to the animals and appointed a French-trained composer to direct it; he in question) from the back of a live donkey. The heroic relished guest performances by an Italian opera company, drama, on the other hand, captivated more by means of and sent English theatrical personalities on study trips to spectacular scenery and effects. London did not have an Paris. Charles’ cultural policy formed part of his strategy opera house of its own at this period; such a thing was of rapprochement with the great Catholic power on the hardly necessary, since musical theatre was a branch other side of the Channel – and for that very reason was of the spoken theatre. The principal roles were spoken, probably doomed to failure. In any case, neither the while specially hired singers took on supporting roles. In French nor the Italian variety of opera found sympathetic addition to the many musical and dance numbers, so- listeners among his subjects. called ‘masques’ were inserted between the acts. These sung, danced, and opulently staged plays-within-the-play Instead of opera, it was the English theatre that were a relic of the English court art of earlier times, which gained a new lease of life during Charles’ reign. Two in this way was salvaged for Purcell’s contemporaries. companies of players to which he had awarded letters An attempt was also made to preserve the heritage of patent, placed under the patronage of the King and his the Elizabethan theatre by transforming Shakespeare’s brother James, Duke of York (later James II) respectively, classics into fashionable extravaganzas, with scant regard competed for the public’s attention in London. The Duke’s for the concomitant artistic losses. The outcome of this Men initially played at the Lincoln’s Inn Fields Theatre, quintessentially English response to continental opera a converted tennis court, before moving in 1671 to the was a colourful mixture of spoken theatre, song, ballet, Dorset Garden Theatre, a newly built edifice lavishly and spectacle, often not even held together by a coherent equipped with stage machinery and situated right on the plot, which came to be termed ‘semi-opera’. bank of the Thames; the King’s Men had already moved premises in 1663 from Gibbon’s Tennis Court to their new The Restoration period long suffered from an theatre in Drury Lane. Although both houses enjoyed the extremely bad reputation among theatre historians favour of their exalted patrons, they financed themselves and Shakespeare scholars, while musicologists were from box-office takings. The paying public found two accustomed to bewail with deep sighs the fact that with genres particularly appealing: comedy and heroic drama. the exception of his only ‘true’ opera Dido and Aeneas Image Credit: Michal Novak

Gianluigi Trovesi, Clarinet Doron Sherwin, Cornetto Vincenzo Capezzuto, Alto

– which, significantly, he composed not for the public The two songs ‘Twas within a furlong’ and ‘Man is theatre in Dorset Garden, but for a private girls’ boarding for the woman made’, both from The Mock Marriage, school in Chelsea – Purcell had frittered away his genius give a very good idea of Restoration comedy and of on a bastardised form of musical theatre. Three years Purcell’s talent for the popular. The tripping, salacious after his death, in 1698, a polemical treatise by the rhyming couplets of ‘Man is for the woman made’ are theologian Jeremy Collier on the immorality of England’s very likely by the same Peter Anthony Motteux who had stages was published. Public opinion had already mocked the ‘perpetual singing’ of continental opera in his undergone a complete volte-face. To both the classically Gentleman’s Journal. Purcell set Motteux’s frivolous verse orientated artistic purists and the sentimental moralists to a catchy melody with a high singalong factor, which of the following era, the theatrical art of the Restoration over the past 320 years must have been sung at countless was anathema. Admittedly, Purcell’s music, which was social gatherings. The ambitious, grandiose side of the handed down in collections of songs compiled after his Restoration theatre is represented by the Shakespeare death, such as the two volumes of Orpheus Britannicus, adaptations Timon of Athens (the source for the ‘Curtain escaped condemnation and was held in high regard; but tune upon a ground’ and ‘Hark! how the songsters of the the contexts in which these pieces had originated now grove’) and The Fairy Queen (‘One charming night’ and ‘O disappeared. It may be doubted whether his subsequent let me weep’). The reworking of Shakespeare’s Midsummer beatification did Purcell justice. For Britain’s honorary Night’s Dream under the title of The Fairy Queen, in Orpheus was a child of his time, and his art was rich particular, became the epitome of ostentatious decorative and flexible enough to encompass its contradictory theatre. The play was premiered at what was now the tendencies. Purcell made his career under Charles II: from Queen’s Theatre in Dorset Garden in 1692 and seems to his first steps as a choirboy at the Chapel Royal to posts have swallowed up a good two-thirds of the company’s as organist of Westminster Abbey and the Chapel Royal budget for the year. The expense sheet included some and Keeper of the King’s Wind Instruments, he spent his twenty actors, the same number of singers, twenty-four whole life in royal service. Until his thirtieth year he was dancers, twenty-four instrumentalists, not to mention a chiefly a composer of pious church music and pieces for heavenly chariot drawn by peacocks, a dragon bridge, festive occasions at court. It was only when James II had a twelve-foot-high fountain, and much more. Because been deposed in the wake of the ‘Glorious Revolution’ of the piece was so horrendously expensive, it was revived 1688, and his successors William and Mary evinced less the following season, with the addition of new music, and less demand for court music, that Purcell moved into including ‘O let me weep’, the celebrated ‘Plaint’. the theatrical field. He then went on to create most of his Purcell’s trade secrets as a composer are perhaps more than forty scores for the theatre in the last five years most tellingly revealed by the song that gives this of his life. programme its name: ‘Music for a while’. The piece L’Arpeggiata Image Credit: Michael Uneffer

comes from the incidental music to Dryden and Lee’s Draghi in 1687 and by Handel in 1739 – is by Purcell’s close adaptation of Sophocles’ tragedy Oedipus the King. At associate John Dryden. In it the poet glorified the power the point where this vocal number was inserted, a priest of music, which is said to arouse and then to order in invokes the spirit of Oedipus’ father Laius. Purcell employs seemly fashion everything from the atoms of matter to his favourite compositional technique, the ‘ground’ – a human emotions. Music, for Dryden, was the ‘universal constantly repeated bass – to conjure up the image of the frame’. Subsequently, for the year 1692, Nicholas Brady ghost rising from the Underworld: with each repetition, gave Purcell a text that reformulated Dryden’s ideas: ‘Hail! the bass figure slides a small step upwards. When the bright Cecilia, hail to thee! Great patroness of us and text evokes Alecto – the Fury who drives the parricide harmony!’ Two of the pieces in this programme– ‘Here Oedipus mad – the power of music is even more vividly the deities approve’and ‘Wondrous machine’– come from represented: Purcell multiplies the reiterations of the Purcell’s two hymns of praise to music. Of course, hymns word ‘drop’, broken up by rests, so that with each note of praise to exalted personages figured among the duties we seem to hear falling to the ground, subjugated by of Purcell the court composer. For Queen Mary’s birthday the music, another of the snakes that dart wildly in all in 1694 he wrote the ode Come ye sons of art (which directions round the Fury’s head. The power and the includes ‘Strike the viol’); his last ode, Who can from joy essence of music, as becomes abundantly clear here, refrain? (from which ‘A prince of glorious race descended’ consist in calming the passions and even madness. At the is taken), was composed in 1695 for the birthday of the core of Purcell’s music lies a commitment to measure and young Prince William, Duke of Gloucester. We are given harmony that still manifests itself, even at moments of an uplifting taste of Purcell the religious composer in the greatest intensity, in a certain emotional nobility and ‘An Evening Hymn on a ground’. In this setting of the composure. This makes it easier for us to understand the reflections of William Fuller, Bishop of London, on life after function of his music in the stagecraft of the time. Action death, Purcell composed a lullaby of bewitching calm for and climaxes were furnished by the actors, the dancers, the soul. the stage machinery, and so forth. The spectacles of the Henry Purcell’s own demise was the stuff that myths Restoration period were never conceived as coherent are made of. He died aged thirty-six on 21 November 1695, dramas; in their heterogeneity and illogical volatility, just on the eve of St Cecilia’s Day. According to legend, they represented the zestful unleashing of all available his wife locked him out of the house when he came home resources of theatrical technique. But music provided the drunk. Hence the British Orpheus quite literally caught his spiritual bond between those resources. Purcell did not death of cold outside his own front door. It is more likely fritter away his genius in the theatre; rather, he performed that he died of tuberculosis. But one thing is sure: Puritan a task that would have been too great for any lesser man. standards never did either the man or his music justice. In 1683 the Musical Society of London decided to celebrate the feast of the patron saint of music, St Cecilia, Text: Dr. Ilja Stephan in worthy fashion on 22 November each year. The honour of setting the first Cecilian ode, Christopher Fishburn’s Translation: Charles Johnston Welcome to all the Pleasures, went to Purcell. The most famous poem written for this occasion, From harmony, from heav’nly harmony – set to music by Giovanni Battista L’Arpeggiata Christina Pluhar Christina Pluhar, theorbo and musical direction Theorbo & Musical Direction Céline Scheen, soprano Vincenzo Capezzuto, alto Christina Pluhar, founder and Artistic Director of Gianluigi Trovesi, clarinet L’Arpeggiata, first discovered her deep affinity for Doron Sherwin, cornetto Renaissance and Baroque music after studying classical Veronika Skuplik, baroque violin guitar. She then devoted herself to the lute, theorbo, Eero Palviainen, baroque guitar & archlute baroque guitar and baroque harp, and working Sergey Saprychev, percussion with Toyohiko Satoh, she graduated from the Royal Boris Schmidt, double bass Conservatory in The Hague. Following her studies with Francesco Turrisi, piano Hopkinson Smith at the Schola Cantorum Basiliensis Haru Kitamika, harpsichord in Switzerland she received a Diplôme Supérieur de Perfectionnement. She then studied with Mara Galassi at Founded in 2000, L’Arpeggiata is an outstanding ensemble the Civica Scuola di Musica in Milan. In 1992 she won First directed by Christina Pluhar. Its members are some of Prize at the International Old Music Competition of Malmö today’s best soloists, and perform in collaboration with along with the ensemble La Fenice. some exceptional singers from the Baroque and traditional music worlds. The ensemble’s aim is to revive an almost Christina Pluhar performs as a soloist and continuo unknown repertoire, and to focus its artistic work on the player at leading festivals and with groups such as La beginning of the seventeenth century in particular. Fenice, Les Musiciens du Louvre and Concerto Köln, and in ensembles directed by René Jacobs, Ivor Bolton Since its inception, L’Arpeggiata has received and Alessandro de Marchi. Her repertoire includes solo outstanding recording and concert reviews. Its CD La and continuo works from the sixteenth to eighteenth Villanella was Event of the Month in Répertoire des disques, centuries for renaissance lute, baroque guitar, archlute, and its third disc, All’Improvviso, was BBC Music Magazine’s theorbo and baroque harp. As a guest conductor, she has CD of the Month. The ensemble now records exclusively for conducted the Australian Brandenburg Orchestra, the Warner Classics. European Baroque Orchestra and the Orchestra Divino The recording with countertenor Philippe Jaroussky: Sospiro in Portugal. Music for a While – Improvisations on Purcell, upon which tonight’s programme is based, was released in 2014. Christina devotes much of her time to L’Arpeggiata, Francesco Cavalli – L’amore Innamorato, including arias not only as conductor and musician on stage, but also and lamenti from Cavalli’s operas, was then released in planning and researching the programmes. October 2015 followed by Orfeo Chamán in 2016.

L’Arpeggiata has performed at festivals including Lufthansa, Oude Muziek Utrecht, Brugge Musica Antiqua, Schwetzinger SWR Festspiele and RuhrTriennale, and at venues including Wigmore Hall and the Salle Gaveau, Paris. In 2012, L’Arpeggiata was the first baroque ensemble to be granted an artistic residence at Carnegie Hall, New York. Let the Music Continue to Play

The generosity shown by our donors in 2016 saw philanthropy at CMNZ reach new heights and we are very grateful for the support shown by each of you. Without your generosity, it would be impossible for us to continue providing top quality chamber music performances to all reaches of New Zealand. Your investment in CMNZ also ensures that our extensive education and community programme continues to flourish. Thank you again for your ongoing and generous support.

THE LEGACY OF CHAMBER MUSIC

We’re excited to announce the introduction of a new Bequest programme, including the launch of our Founders’ Circle for those who have left or have chosen to bequest a gift to CMNZ in their wills. Named in honour of those who were instrumental in the establishment and growth of chamber music within New Zealand, we are excited to have this new initiative as a part of our Encore! Supporters Programme.

Bequests provide essential support to CMNZ’s financial longevity by helping to safeguard the future of chamber music in New Zealand - including our iconic chamber music contest. Anyone who notifies us that their estate plans include a gift to CMNZ becomes a member of The Founders’ Circle in recognition of their future support.

To learn more pick up a leaflet from your local concert desk or contact Mandy Carian on: (04) 802-0755 | [email protected] www.chambermusic.co.nz/supportus Thank You! To all of our generous donors who support Chamber Music New Zealand throughout the year.

Ensemble ($10,000+) Trio ($500+) Anonymous Anonymous (2) Kaye & Maurice Clark Diane Baguley Gill and Peter Davenport Philippa Bates Peter and Carolyn Diessl Harry and Anne Bonning Sarah Buist Octet ($5,000+) Philip and Rosalind Burdon Robin and Sue Harvey Margaret and Malcolm Carr M Hirschfeld Children's Trust JD Cullington Lloyd Williams and Cally McWha Jonathan Cweorth Graeme and Di Edwards Quintet ($2,500+) Tom and Kay Farrar Joy Clark Peter and Rae Fehl John and Trish Gribben Belinda Galbraith Ann Harden Laurie Greig Collin Post Prof Les Holborow Arnold and Reka Solomons Michael Houstoun and Mike Nicolaidi Kerrin and Noel Vautier Peter and Pam Hubscher Peter and Kathryn Walls Caroline List Fiona Macmillan and Briony Macmillan Quartet ($1,000+) Raymond and Helen Matias Anonymous (2) AE McAloon Roger and Joanna Booth Graham Mitchell Rick and Lorraine Christie Euan and Shelley Murdoch Eric Espiner Glennis Pettigrew Finchley Trust Miles Rogers Jane Kominik Barry and Catherine Smith Patricia Gillion Ross Steele Alice and Joseph Letteri Priscilla Tobin Hylton LeGrice and Angela Lindsay Prue Tobin Linda MacFarlane Ann Trotter Campbell McLachlan & Rhona Fraser (in memory of Colin McLachlan) Judith Trotter Elizabeth McLeay Tim Wilkinson Lesley Nesbit The Cranfylde Charitable Trust Founders’ Circle Roger and Jenny Mountfort The Estate of Jenni Caldwell Barbara Peddie The Estate of Chisne Gunn Roger Reynolds The Estate of Aileen Claridge Alison Thomson The Estate of Walter Freitag Patricia Unger The Estate of Joan Kerr Bruce Wilson and Jill White Ann Wylie David Zwartz Our donors are a vital part of our chamber music community, enabling Chamber Music New Zealand to bring the best international and New Zealand artists and ensembles to cities and towns across the country. To find out more about how you can help, call the Every gift of $5 or more is eligible for tax purposes and Development team on: provides you with a tax credit, a receipt will be issued 04 802 0759 or visit for tax deduction purposes. www.chambermusic.co.nz/supportus Date night anyone?

BABYSITTING CLUB Finding childcare isn’t always easy or cheap! Parents & caregivers rejoice, the CMNZ Babysitting Club is here. Join the club and whenever you buy a ticket to one of our concerts and book a babysitter for the evening, you will receive a second one completely free.

Date night anyone?

For more information: 0800 CONCERT (266 2378) chambermusic.co.nz/babysittingclub GLOSSARY

Agitato: Agitated, restless

Aria: Song, air

Allegro: Lively

Archlute: A lute with an elongated neck to accommodate the longer strings necessary to produce bass notes. It had two pegboxes to accommodate the great number of strings, and the bass strings were unstopped. The instrument usually had 13 or 14 single or double courses of strings. The archlute was popular both in Italy and England during the Renaissance.

Caloroso: With heat, passion

Canon: Polyphonic section in which one part is imitated by subsequent parts

Catch: Is a type of round or canon at the unison (see unison)

Ciaccona/Chaconne: A musical form consisting of a set of continuous variations upon a ground bass (see Ground)

Con brio: With spirit and energy

Cornetto: A Renaissance wind instrument of the brass family, yet made of wood, with finger holes similar to those of a recorder. The cornett has a cup shaped mouthpiece and is sounded n the same manner that a brass instrument is sounded. It was developed from the horn of a cow, and always retained its curved shape. It was most popular during the late 1500s and early 1600s.

Grave: Solemn and slow

Ground: A constantly repeated bass, – To conjure up the image of the ghost rising from the Underworld: with each repetition, the bass figure slides a small step upwards in the ground Purcell wrote for ‘music for a while’

Improvisation: The art of making up the music as you go

Inquieto: Restless, uneasy

Octave: The interval between one musical pitch and another with half or double its frequency

Plaint: A lament; expression of sorrow

Theorbo: A large instrument of the lute family with an extended neck and two sets of strings. One set of strings is fretted and fingered like those of the standard lute, the second, longer set of strings is tuned to the diatonic scale and designed to be played unstopped. The theorbo was in use from the 16th to the 18th centuries.

Unison: is two or more musical parts sounding the same pitch or at an octave interval, usually at the same time (see octave)

Viol Viola da gamba: A family of bowed stringed instruments popular in the Renaissance. This family is the ancestor of the modern double-bass. The members of the viola da gamba family had six or more strings, "C" shaped soundholes, frets, and sloping shoulders. The tone of the instrument was softer than that of the modern violin family, sweeter, and more silvery. The viola da gamba family went out of favour in the late Renaissance and early Baroque, when the brighter, louder violin family took its place in popularity. Board Regional Concerts Lloyd Williams (Chair), Paul Baines, Quentin Hay, Gretchen La Roche, Matthew Savage, Sarah Sinclair, Vanessa Van den Broek, Kerrin Vautier Ensemble Paladino Staff (flute violin cello harpsichord/fortepiano) Chief Executive, Peter Walls Timaru 31 March Artistic Manager, Catherine Gibson Artistic Assistant, Jack Hobbs Invercargill 2 April Education and Outreach Coordinator, Sue Jane Wanaka (Festival of Colour) 4 April Operations Coordinator, Rachel Hardie Cromwell (Festival of Colour) 5 April Development Manager, Mandy Carian Motueka 26 April Development Executive, Virginia Close Marketing Manager, Shelley Davis Wellington 27 April Design & Print Coordinator, Darcy Woods Lower Hutt 28 April Marketing & Communications Coordinator, Alessandra Orsi Palmerston North 29 April Ticketing & Database Coordinator, Laurel Bruce Publicist, Sally Woodfield Office Administrator, Becky Holmes NZTrio (piano quartet) Rotorua 20 April Branches Auckland: Chair, Victoria Silwood; Concert Manager, John Giffney Whanganui 28 April Hamilton: Chair, Murray Hunt; Concert Manager, Gaye Duffill Wellington 30 April New Plymouth: Concert Manager, Susan Case Upper Hutt 1 May Hawkes Bay: Chair, June Clifford; Concert Manager, Liffy Roberts Whangarei 7 May Manawatu: Chair, Graham Parsons; Concert Manager, Virginia Warbrick Wellington: Concert Manager, Rachel Hardie Nelson: Chair, Annette Monti; Concert Manager, Clare Monti The Jac Christchurch: Concert Manager, Jody Keehan (contemporary jazz octet) Dunedin: Chair, Terence Dennis; Concert Manager, Richard Dingwall Southland: Chair, Rosie Beattie; Concert Manager, Jennifer Sinclair Warkworth 5 May Tauranga 7 May Motueka 10 May Regional Presenters Blenheim 11 May Marlborough Music Society Inc (Blenheim), Geraldine 13 May Cromwell & Districts Community Arts Council, Musica Viva Gisborne, Music Society Eastern Southland (Gore) Invercargill (Southland Arts Festival) 14 May Greytown Music Group, Arts Far North (Kaitaia), Lower Hutt 17 May Aroha Music Society (Kerikeri), Chamber Music Hutt Valley, Motueka Music Group, South Waikato Music Society Inc (Putararu), Jian Liu Waimakariri Community Arts Council (Rangiora), Rotorua Music Federation, Taihape Music Group, (solo piano) Tauranga Musica Inc, Te Awamutu Music Federation, Whangarei 11 June Upper Hutt Music Society, Waikanae Music Society, Whanganui 13 June Wanaka Concert Society Inc, Chamber Music Wanganui, Warkworth Music Society, Wellington Chamber Music Trust, Blenheim 15 June Whakatane Music Society, Whangarei Music Society. Motueka 16 June Wanaka 21 June Timaru 22 June Level 4, 75 Ghuznee Street Saturday 24 June Monday 26 June PO Box 6238, Wellington 0800 CONCERT (266 2378) [email protected] www.chambermusic.co.nz /ChamberMusicNZ A special thank you to all of our sponsors and funding partners.

CORE FUNDER SUPPORTING FUNDER

ASSOCIATE PARTNERS

DEBUT PARTNERS

J Fraser & Sons King and Queen Hotel Suites Tregaskis Brown

KEY FUNDING PARTNERS CMNZ recognises the following funders who generously support our work.

FUNDING PARTNERS

Auckland Council Michael Hill International Violin Competition Trust Waikato Community Trust of Southland New Zealand France Friendship Fund TSB Community Trust Eastern & Central Community Trust Otago Community Trust Turnovsky Endowment Trust Four Winds Pub Charity Wellington City Council Invercargill Licensing Trust Timaru District Council Wellington Community Trust

“She plays wonderfully, allowing her music fluidity and space; her virtuoso outpourings are formidable.” The Daily Telegraph

Free Prelude events prior to concerts

Kathryn Stott piano For booking information visit: Helene Pohl violin Monique Lapins violin chambermusic.co.nz/kathrynstott Gillian Ansell viola Rolf Gjelsten cello

Core Funder 7–18 May 2017